I’m really looking forward to Jodi Meadows’s debut, INCARNATE, (who can see that gorgeous cover and not want to open the book?) as well as TEMPEST by Julie Cross, because I’m a sucker for time travel stories. LOVE AND LEFTOVERS by Sarah Tregay also looks like something I’d like to read!

A few of the books I’m super excited for have been named already, so I won’t go through them again. One that hasn’t been mentioned that I’m really intrigued by is THE SELECTION by Kiera Cass. The cover is gorgeous, and I admit it…I’m a sucker for books where girls get dressed up in ridiculously fancy dresses, hahaha. I’m also looking forward to CRACKED by K.M. Walton, because it seems like it’ll be an interesting and edgy contemp.

Ditto on INCARNATE and CINDER! They look absolutely incredible. I’m also reallllly pumped for SHADOW & BONE by Leigh Bardugo–I had the privilege of reading an early draft and it was SO stunning. I can’t wait to read it again–and to hear what other people think! And UNDER THE NEVER SKY by Veronica Rossi, BORN WICKED by Jessica Spotswood, SCARLET by A. C. Gaughen, and STORM by Brigid Kemmerer look fabulous, too!

So, recently, a reader emailed me asking me how I went about querying and finding my agent. I’d actually meant to put up a post about this a long time ago, but the old post included my actual query, which, now that I look at it, is rather spoilery…

I will, however, go through some of the tools I found most helpful and give a basic outline of how the process went.

I started writing my query letter literally a month or so before I sent out my first email (I didn’t snail mail any queries), and then I revised and revised and revised and revised some more. I sent it to critique partners, read it to friends, etc, until I’d whittled it down to about three paragraphs that made sense, got to the heart of the conflict, and gave the reader just enough world building.

During this time, I was collecting a list of agents I’d like to work with, too. Many of these names I got from blogs, since I’d spent so much time reading agent blogs to figure out how to put together a query letter in the first place. Some I got from contests (I got my agent Emmanuelle’s name from Miss Snark’s First Victim’s Secret Agent Contest!).

Wherever I got the names from, I checked to see if they had blogs or twitter or anything like that. Not everyone does, and that’s fine if they don’t, but if they do tweet or whatever, sometimes you can get an idea of what they’re looking for. I know the internet’s not the best way to make a judge of character or anything, but sometimes you can get a sense of how someone’s like to work with. .

.

Also, a check on querytracker (I did a whole long post about that here) never hurt, either. There’s also www.agentquery.com, but I didn’t use that as much. However, they usually list a number of links to interviews and such that the agent has done, and those can be really helpful.

Publisher’s Marketplace does require a subscription fee, but it’s not too bad and if you have a membership, you can see what’s been sold by whom and to whom. Which is handy if you’re looking to see who has, say, a really good track record in cozy mysteries or something. Not all sales get reported to PM, though, and some are reported late, so it’s not an end all be all source.

The Absolute Write forum (or water cooler, as they call it) can be very helpful, too. Many agencies have their own thread in the Writers Beware subforum, and you can search a particular agent’s name to see what sort of experience other writers have had with them in the past. Often, you’ll even see a few people announce that they’ve recently signed on with said agent. The smaller agencies sometimes have rather lackluster, seldom-visited threads, though…which doesn’t at all reflect on the quality of the agency.

Finally, I got a TON of help from just other writers. The girls at LTWF were an enormous help, as were other friends I made online, who gave me advice about everything from manuscript formatting to query-letter-writing.

I sent out queries in really small batches, since my overall list was pretty small. I ended up signing with Emmanuelle after about two months (longest two months of my life. Truly, lol), but I suppose if I hadn’t gotten any offers after a long while, I would have had to widen my search a little.

In the end, everybody talks so much about query, and there’s a ton of advice out there (even about the best day of the week or the best time of day to send a query—as a literary intern, I’m just going to say…at least at the agency where I work, this is not going to matter in the least), but in the end, there’s only so much you can do. And writing a really strong story trumps most of the other stuff anyway 🙂

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book WHAT’S LEFT OF ME is about a 15-year-old girl fighting for her right to survive in a world where two souls are born to each body and one is doomed to disappear. It recently sold in a three-book deal to HarperTeen. You can read more about her writing process, travels, and books at her blog.

So, I’m almost done with the first draft of my outline for Book #2. Considering I just turned in my edits for WHAT’S LEFT OF ME (eee! New title still makes me all tingly, lol), it may or may not be a little early to be working on the outline, but somehow, I suspect not. Either way, considering I go just a little bit crazy when I don’t have something writerly to be working on (especially when school isn’t in session and ready to distract me with physics and spanish and american politics), I don’t really have much choice in the matter.

The outline will need to be cured of about two or three good-sized plot holes before it’s in a state to be shown anyone. Not to mention the line “I will think of something appropriately sweet and non-cliche eventually, haha” is probably going to be replaced at some point. Yeah.

But overall, I’m pretty darn satisfied with the whole thing, and so very relieved that I am. Of course, we’ll have to see if my agent and editor and the rest of the team at HarperTeen are satisfied before it’s full sails ahead for my starting to write the actual book, but I personally can’t write a book unless I feel a certain soul in it, and I think I’ve found the right one for Book #2 of the Hybrid Trilogy.

To be honest, I’ve never written a trilogy before. So this whole process has been very much a learning experience as I try to figure out what constitutes a good sequel, especially when it also has to serve as the bridge between books 1 and 3.

I decided early on that I wanted to steer away from a common complaint people have about second books in a trilogy—that they’re the weakest ones. The ones with the least excitement. That they often only serve to put things in place for book 3. I hope that this book 2 comes to stand on its own as a story in and of itself—of course strongly connected to the other books, but no lesser than its fellows in terms of plot or characterization or excitement.

This is probably all way early to talk about considering WHAT’S LEFT OF ME is still a good year away from publication, but I’d like to keep a record as I go on writing and editing and outlining this series—both for myself and for whomever else is actually interested. So as of today, the first draft for the outline for Book #2 is just about done. I’ll let you guys know when I actually start the first true words of the manuscript.

I’ll die of excitement. I swear 😉

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book WHAT’S LEFT OF ME is about a 15-year-old girl fighting for her right to survive in a world where two souls are born to each body and one is doomed to disappear. It recently sold in a three-book deal to HarperTeen. You can read more about her writing process, travels, and books at her blog.

I’d like to start this post off by showing you two pictures. First, this one:

Not exactly a great picture, right? In fact, you could say it was downright bad. The lighting is awkward. The focus is all wrong. You’re not quick sure what you’re supposed to be looking at, and nothing looks particularly good.

Now let’s look at this picture:

Now, I’m not saying it’s award winning or anything, but it’s a whole lot better, right? The flower in the foreground is clearly the subject. It’s clear and properly lighted, while the background is blurred slightly, giving the viewer the idea of something being there, but nothing too distracting.

The above two pictures are of the exact same flower, and all that changed to make one picture rather terrible and the other pretty good was the focus (I’m not really talking in concrete photography terms here, so I’m including lighting in there).

The same goes for writing. A scene can pop so much more if you adjust your “lens” correctly and take the perfect shot. The subject itself doesn’t have to change. At the heart, it’s the same scene. But you draw out different elements and present them to the reader while keeping the rest in the background, just like how the second photograph drew the closer flower into focus while blurring the ones behind it.

Let’s start with an easy example. Say you’re writing a fight scene. Focus is especially important in action scenes because you want your prose to move quickly. You need to get the sense of tension and motion and adrenaline to your readers. Every line of description slows this action down. Remember that. But you can’t just turn the fight into: “Jim hit Drake and Drake slugged him back. Jim fell down. Drake jumped on top of him.” That’s boring, and your characters are floating in a vacuum. You do need a certain amount of background. The second picture doesn’t have a blank canvas behind the flower, it has a blurred scene. Paint a background in broad strokes, but keep the details tied to the action.

This isn’t only important, however, in action scenes. Any scene can be weighed down by a scattered focus, by too much description of unimportant things. Yes, it’s very important to situate your readers, to make sure your characters aren’t floating in a vacuum, but always keep in mind: 1) what are my characters paying attention to? This is especially important in 1st person and close 3rd. If your character is in mortal danger, she is most likely not going to be going into great lengths detailing her attacker’s fashion. 2) what do you want your reader to be paying attention to? Often, 1 and 2 are the same. But sometimes it’s not, especially if you’re trying to drop clues for the reader about something that the main character doesn’t know yet.

If you’re itching to describe something that neither falls under 1 or 2, that’s fine. But consider the length. Remember, every line is slowing down the action, the forward momentum. Sometimes you want to slow down the momentum. Other times, you need things to be going along as quickly as possible, and that is when you really need to start paying attention to focus.

Pictures above were taken by yours truly at the Botanic Garden in Madrid.

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book HYBRID (currently undergoing a title change) is about a girl with two souls. It recently sold in a three-book deal to HarperTeen. You can read more about her writing process, travels, and books at her blog.

If you’re a visiter to my personal blog, you probably know that I left for Madrid, Spain yesterday and arrived this morning 🙂 Can’t say I’ve done much yet, but just walking around the city, it seems wonderful. And the weather’s fantastic. But you’ll have to go to my blog if you want travel posts; here on LTWF, it’s all about the writing and the story-telling (weeellll, not entirely true, lol). So what does my trip to Spain have to do with writing? Especially since I’ve barely gotten off the plane?

This:

And this:

And this:

Yes, I have a bit of an obsession with photographing scenes outside plane windows. But it’s not just about looking at a pretty cloud or the way the sunrise looks from 4300 meters. It’s about a different perspective. It’s about wonder.

Perspective and wonder. Those are two very important things for a writer, I think–the ability to see something in many different ways, to look at something not just from your own perspective, but from someone else’s. To look at the cloud bank not as a 21st century girl who has been zipping around in planes since she was three, who should really be long jaded by the scene outside a plane window, but as a 14th century worker who can only dream of seeing what clouds look like from above, or as some nymph of the skies, who has seen nothing else her entire life–who sees this as home.

Well, I’m off to read my orientation packet and try to at least get a vague sense of the metro layout before I need to meet up with the other people tonight 🙂 I can’t wait to really explore the city: its museums, parks, shops, restaurants…

Perspective and wonder, right? :]

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book HYBRID–about a girl with two souls–recently sold to Harper Children’s. You can read more about her writing process and books at her blog.

Yeah, okay, that might seem like an odd thing to say on a blog pretty much dedicated to writing and novels and such, but it’s true. I adore film. I’m nuts about costuming and lighting and how they build sets. I could spend days analyzing the color schemes they use for the characters’ clothes and the meaning of every facial expression the actors portray.

I love the technical side of film-making, so it shouldn’t come as a big surprise that I’m really into watching commentaries, especially director commentaries. I like to hear what they’d meant for every scene. Why did they choose that particular angle? Why that kind of lighting?

If you know me at all, you probably know that I’m a bit of an enormous Firefly fan (TV show by Joss Whedon, for the uninitiated). I’m actually in the middle of watching his commentary with Nathan Fillion (actor who plays the hero of the show) about the show’s pilot. Yes, I paused the video to type this article up. What can I say? When I get the urge to write something, all else must stop.

There’s so much I’ve learned about writing from film. Some of it, yes, does come from reading film scripts. But a lot of it comes from commentaries like this. It’s a beautiful thing to hear someone break down their story for you, and I wish authors had the same opportunity. Am I the only one who would pay to read some kind of “author commentary”? Maybe a book that had the regular story text but had author’s notes stuck in in a different color or in footnotes or whatever? I think that would be amazing.

In the mean time, though, I guess I’ll stick with director commentaries.

One thing I’ve learned is the physicality of a character. I’m a great lover of dialogue. It’s something I put a lot of focus on—a book or TV show or movie with unrealistic dialogue will turn me off like nothing else.

I admit, though, that my focus on dialogue sometimes leaves me with characters who say too much but forget to express themselves through their actions. I’m not talking about big actions, like showing a guy is brave by having him lead the assault or whatever. I’m talking about little things, like a touch on the hand or a shifting of the weight or a hug between two characters when one simply goes limp.

But if TV shows and movies have taught me anything, it’s the art of saying as much as you can with as little as you can. Every look is loaded. Every movement counts. If it’s not important, it’s left on the cutting room floor.

In general, good books are the same way. In my revisions, I muddle around, moaning and groaning about the little details. But then I watch a well put together movie and all of a sudden, I remember the big picture. Wasteful dialogue? Gone. Cute but meaningless scene? Cut.

I think it was actually Joss Whedon who once mourned the cutting of some scenes from his movie, Serenity, but in the end said that they had to be sacrificed to that all-powerful god of story-telling: Momentum.

That really hit a cord with me. I’d been struggling with the pacing in HYBRID for a while, and this really helped me figure things out. It also helped me figure out what was “wrong” with many of the stories I’ve read but put down or not enjoyed.

A story needs momentum. Things must move ever forward. Yes, the reader/audience needs time to breathe and reflect, but things can never grow stagnant.

That is the most important thing. Of course, a story that’s all plot momentum and no character interaction or emotional attachment, etc, doesn’t tend to do well (though I’m sure we can all think of a story or two that is exactly that and still manages to do just fine in the eyes of some…)

As always, it’s a balance. Writing, I’m coming to learn, is an everlasting struggle between saying too much and saying too little. One is as bad as the other, but if you manage to hit that perfect spot…

Well, you get something rather magical.

I’m off to watch the rest of this commentary, then. Then maybe I’ll try to get in a little revising. Gotta keep searching for that sweet spot :]

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book HYBRID–about a girl with two souls–recently sold to Harper Children’s. You can read more about her writing process and books at her blog.

I want to write today about writing. I just finished reading another writer’s interview, and she said, as have so many writers before her, that writing is a need for her. A passion. Something she has to have like breathing. Something she can’t live without. And I nodded and agreed and went on to finish the interview.

But then I thought about people I’ve spoken with, ones to whom I’ve explained my need for writing, and they’ve sort of just laughed or were plain confused by it and told me so. And I realized that there are probably people out there who read about writers saying these sort of things and don’t actually believe it. They feel like it’s just hyperbole, like when people say “I LOVE chocolate. I couldn’t LIVE without chocolate.”

Okay, so maybe there are actually people who feel about chocolate like I feel about writing, and I just don’t understand because I don’t love chocolate like they do. But that’s the point. I don’t feel the same way, and so when people say “I can’t live without chocolate,” I think they’re just exaggerating.

Well, this post exists to explain that when I say I have to write like I have to breathe, I’m not exaggerating as much as people might think, and I know this is true for others, as well. The super-literal part of me has to say that hello, yes, I’m not being ENTIRELY truthful. Yes, of course, if forced to by pain of death or whatever, I could live a perfectly fine life without writing. No, writing is not exactly like food or breathing.

But I’m not just throwing out hyperbole either. I love traveling. I love biology. I love puppies and musicals and dance and singing and reading and the high after a long run. But not like I love writing. Not like I need writing.

I write when I’m happy and need to share. I writing when I’m bursting with excitement and feel like I couldn’t even sit down unless I released some of that feeling into a poem. I write when I’m depressed or angry or frustrated. I write to figure out what I’m feeling. To better define who I am. To better understand what I’m doing in this world. And that is not a tiny bit of exaggeration.

Being a writer is a part of me, always. I shatter a plate in the school cafeteria, and even as the embarrassment rises, I’m noting down the flush in my skin and the feeling in my nose and the thoughts running through my head so I can contribute them to my next depiction of embarrassment. I have the best day of my life, and I’m taking mental notes of how this feels, on how the whole day shines a bit, on the exact feelings I get when I share the news. Is this weird? I don’t even know; I’ve been automatically doing it so long.

Not writing creatively for more than a week drives me crazy. I get antsy. I think my patience gets shorter. It’s like being claustrophobic. I’m used to living two or even three lives at once. One suddenly feels too small.

And when I say—when any writer says—that we live in the worlds we create, we are not lying, either. At least I’m not. My characters are very real and very dear to me. Not psychological-thriller-movie-about-schizophrenia real, not even imaginary friend real (I’m not sure—I never had a true imaginary friend), but real in a way I can’t quite explain. Yes, I realize perfectly well they’re figments of my imagination. But you try spending more than a year, maybe MUCH more than a year, thinking about certain figments of your imagination, about their pasts and their futures, analyzing their motives, their dreams, their relationships with one another. Do you spend that long thinking about many REAL people?

This doesn’t mean that I know every single detail about every single character I’ve made up, but it does mean that the details of the better developed ones seem to float in some nether-space, and when I need to know one of them, I’m pinning it down rather than making it up.

I’m probably talking to the utterly wrong audience here. You probably wouldn’t be here reading this blog unless you were a writer yourself, but maybe you’re not, or maybe you know someone who doesn’t quite understand—who thinks that we’re wildly exaggerating when we gush about our need to write. Which is perfectly normal. People exaggerate all the time.

But this, at least for me, is not exaggeration.

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book HYBRID–about a girl with two souls–recently sold to Harper Children’s. You can read more about her writing process and books at her blog.

How much physical information a writer should put in about his or her characters is a pretty well-debated topic. Some readers like to have everything about the characters described the very first time they show up. Others just like to have the basics—hair color/length…eye color…tall or short…slim or heavyset. Others don’t care about physical description at all and like to have a blank canvas to draw their own mental picture of the protagonist and minor characters.

I’m in the middle. Well, actually, to be honest, I wouldn’t mind a super-detailed description of every single character. I’m a very visual reader, and I like books that allow me to see the scenes in my head like a movie. That’s basically how I write, too, except the other way around. I see the scene like a movie in my head, and then I describe it on paper.

Trouble is, there’s really no way you can describe everything. It would slam the action to a halt, and while I say I like detailed explanations, I know that a book that is actually full of them would drive me crazy. So what’s a writer to do?

First off, remember your voice. This is especially important for first person and close third. You’re not just describing someone, you’re seeing them through someone’s eyes. Everything they notice or don’t notice should make sense. Think about what you notice when you see someone. You don’t meet your friend for lunch and run over their entire outfit and the eye color and hair length before saying hello, right? You might notice if they’ve recently had a haircut or if they’re wearing a skirt when they never wear skirts or something, but otherwise, you probably won’t even notice their clothes.

However, it is nice to let the reader know some physical description of the characters, so you’ve got to find ways of subtly slipping it in.

This is an example of just describing someone:

He was tall, about 6 foot 1 with short blonde hair and blue eyes. Also, he wore a white shirt with horizontal blue shirts and camouflage-patterned, baggy cargo pants. His shoes were heavy boots with thick soles, and he had a ring on his ring finger that was just a band of polished gold.

A couple things that could be improved on this description. Right now, it’s sort of just sitting there. Whatever was happening before the protag saw this guy has ground to a stop while you, the writer, describe his appearance. Weaving your description into the story’s flow of action can improve it a lot. So can spacing out the description so the reader’s picture of a character is built little by little. Of course, if you take too, too long, the readers will start filling things in on their own, and it might be a bit of a shock if, ten chapters in, you describe your love interest as having green eyes and the reader has imagined him as having dark brown ones.

So let’s try weaving the previous description into some action:

He waved to her from across the room, and when she smiled back, started making his way through the crowd. She bit back a laugh when he stumbled; he’d used to be graceful, but the recent growth spurt had added a foot to his height and an ungainliness to his walk.

“Hey, soldier boy,” she said when he was in hearing distance. “Nice pants.”

He grinned, automatically looking down at his baggy camouflage-pattern cargo pants. Along with the heavy boots and the crew cut she bet had taken a lot of convincing on the part of his mother to make happen, he looked almost like he’d stepped out of one of those Army Strong pamphlets her older brother used to bring home. Only his preppy white and blue striped shirt broke the image.

“Laundry day,” he said, still grinning, and ran his fingers through his hair. Probably had to get used to how short it was. She was about to say something back when she noticed the flash of the ring and choked on her words.

Right, so not the best material out there (I probably wouldn’t usually try to cram so much physical description in at once), and I missed out on some of the detail in the first example, but this way, the story didn’t stop completely. Yes, I used more words overall, but we also got a bit about the guy’s age (teens if he’s recently grown a foot in a relatively short period of time), about his relationship with the girl (close enough for her to tease him and him to smile), about their families (she’s got an older brother who was/is interested in the army; his mother wants his hair short, and he disagrees), and about the ring (she hasn’t seen it before).

I’ve got lots more to say about things like this, but I think that’s enough for today 🙂 If you guys are interested, though, I’ll continue the series during my next post!

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book HYBRID–about a girl with two souls–recently sold to Harper Children’s. You can read more about her writing process and books at her blog.

Omg. Wow, of all the days to wake up late! Excuse me if I blabber like a fool a bit. I honestly didn’t expect the PM announcement to go up so soon (awesome agent, much?), and when I woke up to an inbox of people emailing me to say congratulations, my just-woke-up-no-coffee-yet brain wondered what was going on for a moment!

But luckily for all involved, I’m more or less thinking straight now. So yes! HYBRID was sold in a 3-book deal to Harper Children’s!!

If I let myself keeping going, I’m just going to keep going and going and going, so for everyone’s sakes, I’m just going to direct you to my private blog for the details.

I do want to say here, though, that I’m SO SO GRATEFUL for my fellow LTWF girls, who have been SO supportive and SUCH GREAT CPs and JUST AMAZING AMAZING AMAZING x 100000 I couldn’t have done it without you girls. I mean it 🙂

And THANK YOU to all of you, as well! I’ve loved chatting with you all and laughing at stupid jokes and talking about the finer points of writing. Thank you for caring about the advice a 19-year-old nobody gives about writing 🙂

❤ you all!

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book HYBRID–about a girl with two souls–recently sold to Harper Children’s. You can read more about her writing process and books at her blog.

I posted this over on my personal blog a little while back, but the general consensus was that the list really should be longer. Unfortunately, I’ve run out of fun ideas, so I’m asking all of you to help me out! Read MY idea of what living in a YA fic world is like, then give me yours! 🙂

~~~

Have you ever caught yourself wondering if maybe your life isn’t real? That out there, somewhere, someone is writing your story and…OMG, it’s a YA novel? Never fear! Just ask yourself if the following statements are true. Then you, too, can know for sure if you’re living in a YA novel world!

1. You have never, in your life, done a group/partner project that didn’t end in drama of some kind.

2. When you’re stranded somewhere, your crush just happens to show up and ask you if you need a ride. Bonus points if his car is something old that he fixed up himself, or something that he got handed down from his father/older brother/uncle that he apologizes for but that you find rather vintage and cute. Super bonus points if he sticks in a CD that you just happen to LOVE and you shout, “Oh, I thought I was the only one in the world who liked ____!” and the two of you Bond.

3. The waitress checks out your crush on your first date. Bonus points if she tries to leave him her number.

4. Your worst enemy likes the same guy. Bonus points if your worst enemy used to be your best friend years and years ago, before you two hit puberty and she went off to be a cheerleader.

5. Your mood swings change the weather. You don’t remember the last time you cried when it wasn’t raining outside.

6. Your parents always seem to ignore whatever you do until it’s convenient to the plot to ground you—I mean, until you’re ABSOLUTELY needed somewhere for something VERY important. (but then, isn’t that real life, too?)

7. If your best friend’s a guy, you’re either together by the end of the book (I mean, um…the end of…um…well, you know what I mean) or he’s gay. If your best friend’s a girl, she’s prettier than you are. Bonus points if she’s smarter/more athletic/both, as well.

8. Your grandparents are awesome. And quirky. And probably less conservative than your parents.

9. And finally, you know you live in a YA novel when your life is a constant stream of ups and downs, ups and downs, but you can afford to be completely chill because hey, you know you’ve got a 99.9% chance of everything working out more or less perfectly in the end 🙂

Do YOU live in a YA novel world?

(PS, please nobody be offended by this, ‘mmkay? I’m not pointing these things out to make malicious fun, and having these things in your story does not automatically make it stereotypical or cliche. And yes, I’ve used these things in my own stories, as well! 😛 )

~~~

Now it’s your turn! What else should be on this list? 😀

~~~

Kat Zhang is a Spoken Word poet and a Creative Writing major. She is represented by Emmanuelle Morgen and her book HYBRID–about a girl with two souls–is currently on submission to publishers. You can read more about her writing process and books at her blog.